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Malkina, Victoria. "Landscape, Still Life, and Portrait as Titles of Poems." Slavic World in the Third Millennium 14, no. 1-2 (2019): 186–205. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.12.
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This paper is devoted to the problem of visual aspect in literature. We study one of the aspects of the visual in a lyrical poem: the representation of painting genres in the titles of the poems, as well as the interaction between the visual and the verbal in lyrical texts. The goal of the paper is to analyze the semantics of such a title and its influence on both the unfolding of the lyrical plot and the figurative system of the poem, also on the strategy of the perception of such text by a reader. To do this, we solve several problems. First of all, we define the concept of the visual in literature; the concepts of the visuality and the visualization are delimited. Secondly, we consider the main ways of representing of the visual in a lyrical text (taking into account the specifics of the lyric as a kind of literature): lyrical plot, image, compositional forms (a description, a dream, an ekphrasis), and allusions to the genres of painting. Thirdly, the importance of analyzing the title for a lyrical poem is justified. Finally, the most representative texts are analyzed from the specified point of view: we examine how the allusion to the painting is manifested in the title.The material of the paper is the number of poems by the Russian and the Polish poets of the nineteenth – twentieth centuries. Their titles coincide with the main genres of paintings, for example, “Landscape”, “Portrait” and “Still Life (nature morte)”. But at the same time, they are not considered to be ekphrasises. That means there is no any description of a real or imaginary picture there, but there is a recreation of the visual imaginative system by the verbal means; and the poems appeal to the reader's viewing experience. In particular, we analyze the poems of A. Maikov, I. Selvinsky, Y. Levitansky, B. Akhmadulina, L. Martynov, J. Przyboś, A. Pushkin, V. Khodasevich, D. Kedrin, Y. Hartwig, I. Brodsky, A. Svershchinskoy.
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Kawabata, Hideaki, and Semir Zeki. "Neural Correlates of Beauty." Journal of Neurophysiology 91, no. 4 (2004): 1699–705. http://dx.doi.org/10.1152/jn.00696.2003.
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We have used the technique of functional MRI to address the question of whether there are brain areas that are specifically engaged when subjects view paintings that they consider to be beautiful, regardless of the category of painting (that is whether it is a portrait, a landscape, a still life, or an abstract composition). Prior to scanning, each subject viewed a large number of paintings and classified them into beautiful, neutral, or ugly. They then viewed the same paintings in the scanner. The results show that the perception of different categories of paintings are associated with distinct and specialized visual areas of the brain, that the orbito-frontal cortex is differentially engaged during the perception of beautiful and ugly stimuli, regardless of the category of painting, and that the perception of stimuli as beautiful or ugly mobilizes the motor cortex differentially.
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Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.
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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aesthetic concepts, and national customs. Therefore, different ways of paintings would also have differences in the spatial consciousness of the paintings.
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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.
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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.
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Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place." Academic Research Community publication 1, no. 1 (2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.
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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view and translates features of nature of this place in terms of form- or feelings and influence through the ages.When Van Gogh was influenced by a city, like Arles in France, he produced the most beautiful of his paintings, which appeared to show his style and colors. Actually, we see this city through a creative artist with radiant colors, each panting as a celebration or a poem singing the beauty of this place.And when Maurice Utrillo was influenced by a city -like Paris in France especially Montmartre district with its steep winding streets, picturesque windmills, snowfall, and clouds of gray affected- he created his most important paintings of landscape. The paintings reflected the nature of this place by his simple style which seems like a zap from the internal inventory of the artist about this place.
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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.
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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexual landscapes, through layered poetics and symbolism, ultimately served to challenge every day oppressions in colonial Jamaica.
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Půtová, Barbora. "The Czech Painter Božena Jelínková-Jirásková. On the Life and Work on the Periphery of the Male World." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 51–58. http://dx.doi.org/10.1515/amnpsc-2017-0018.
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The article focuses on the life and work of Božena Jelínková-Jirásková (1880–1951), which are described and interpreted by means of a content analysis of her correspondence and artistic production. It presents the basic phases in the artist’s life and work in terms of the influence of her father, the writer Alois Jirásek, and subsequently her husband, the diplomat and writer Hanuš Jelínek. The study provides a chronological overview of the course of her education, life in Paris, exhibition activities, social contacts and artistic movements that affected her paintings. In this respect, a source of inspiration for the work of Jelínková-Jirásková can mainly be seen in the work of Paul Cézanne and Otakar Kubín, with the latter of whom she maintained long-term contacts. The central motif of their work was a landscape, comprising not only a major theme of her artistic production, but also a form of search for personal identity, internal security and a familiar home. A partial objective of the article is to cover the artistic development of Jelínková-Jirásková from Impressionism to realistic and figural work, her subsequent inclination to Neoclassical landscape painting and eventually a return to Realist painting, the Czech landscape and still lifes. The article presents Jelínková-Jirásková as one of the first Czech professional painters to have achieved recognition in both Czechoslovakia and France.
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Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.
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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.
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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.
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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.
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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.
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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.
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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.
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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.
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Lee, Byunghwee, Min Kyung Seo, Daniel Kim, et al. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.
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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lacking, driven by a lack of data and a persistent dominance of qualitative scholarship in art history. Here, we show that quantitative analyses of creative processes in landscape painting can shed light, provide a systematic verification, and allow for questioning the emerging metanarrative. Using a quasicanonical benchmark dataset of 14,912 landscape paintings, covering a period from the Western renaissance to contemporary art, we systematically analyze the evolution of compositional proportion via a simple yet coherent information-theoretic dissection method that captures iterations of the dominant horizontal and vertical partition directions. Tracing frequency distributions of seemingly preferred compositions across several conceptual dimensions, we find that dominant dissection ratios can serve as a meaningful signature to capture the unique compositional characteristics and systematic evolution of individual artist bodies of work, creation date time spans, and conventional style periods, while concepts of artist nationality remain problematic. Network analyses of individual artists and style periods clarify their rhizomatic confusion while uncovering three distinguished yet nonintuitive supergroups that are meaningfully clustered in time.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Ковальова, М. М., та Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, № 3 (13 листопада 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.
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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts." European Review 8, no. 2 (2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.
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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.
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Prophet, Jane. "TechnoSphere: “Real” Time, “Artificial” Life." Leonardo 34, no. 4 (2001): 309–12. http://dx.doi.org/10.1162/00240940152549221.
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This paper focuses on the real-time 3D version of the artificial-life art piece TechnoSphere, a collaborative project by the author, Mark Hurry and Gordon Selley. It begins by positioning TechnoSphere's simulated landscapes in relationship to the English landscape and its tradition in painting and problematizes ideas of “the natural.” The TechnoSphere creatures are evaluated as both artificial wildlife and domesticated animals before the authors consider the relationship between creature and environment. This is followed by a comparison of the Internet and real-time versions of TechnoSphere and concludes by outlining the work-in-progress—a merging of the two systems.
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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.
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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.
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de Kinkelder, Marijke C. "De korte loopbaan van Nicolaes Berchem de Jonge." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 125–32. http://dx.doi.org/10.1163/003067212x13397495480907.
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AbstractIt is virtually unknown that the famous painter from Haarlem, Nicolaes Pietersz Berchem (1620-1683), had a namesake son who was also a painter. This is evident from the signature 'd'Jonge Berchem' ('The Young Berchem'), displayed on the painting Zuidelijk landschap met door een rivier trekkende herders en hun dieren, (Southern landscape with shepherds crossing a river with their cattle) (fig. 2). Nicolaes de Jonge was born in 1649 in Haarlem and died at the age of 22 in Paris. He was undoubtedly educated by his father though both his grandfathers, Pieter Claesz (1597/1598-1660) and Jan Wils (1603-1666), may also have contributed to his artistic education. His father's influence is clearly identifiable in his paintings as he made a number of citations from his work. This article reconstructs the life and work of the young artist, who died an untimely death.
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Singh, Santosh Kumar. "Ecological Awareness: Matrimony of Agriculture and Art." Social Inquiry: Journal of Social Science Research 2, no. 2 (2020): 234–52. http://dx.doi.org/10.3126/sijssr.v2i2.33062.
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This article examines how Mithila folk painting reflects ecological consciousness of the society and the intertwined Maithili life with local flora and fauna that consequently maintains natural environment intact in the region. At the onset of climate issue worldwide, folk painting of Mithila communicates its local as well as international spectators about the preservation of surrounding nature blending it with ritual phenomena, agrarian lifestyle and inculcating geographical values to the new generation through the visual depiction. Once the indigenous art, transformed into leading folk painting, due to commercialization has lifted its spiritual veil to worldly affairs. In this course of shift, ecology based painting proves to be a boon for the art lovers and buyers as it attempts to balance the degrading nature with its preservation technique appropriate to its own native land. A pivotal visualization of the merriment of lifespan and landscape amidst spirituality and perpetuity remains the characteristic feature of this indigenous art work.
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Vasic, Sandra, and Slobodan Markovic. "Denotative and connotative meanings of paintings." Psihologija 40, no. 1 (2007): 75–91. http://dx.doi.org/10.2298/psi0701075v.
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In this study the relationships between judgments of paintings denotative and connotative meanings was investigated. Denotative domain was defined as motif (represented object, e.g. portrait, landscape etc.) and message (information carried by paintings, e.g. celebration of patriotism). Connotative domain was defined as subjective experience, i.e. affective or metaphoric impression produced by painting (e.g. feeling of pleasure, impression of dynamics, and so on). In preliminary study the list of 39 motifs was specified empirically. The four dimensions of pictorial message were taken from the previous study (Markovic, 2006): Subjectivism, Ideology, Decoration and Constructivism vs. Realism. The four dimensions of paintings subjective experience were taken from the previous study as well (Radonjic and Markovic, 2005): Regularity, Attraction, Arousal and Relaxation. In Experiment 1 subjects were asked to associate 39 motifs with 18 paintings. In Experiment 2 subjects were asked to judge 24 paintings on four dimensions of pictorial message. Results form Experiment 1 have shown that dimensions of paintings subjective experience were significantly correlated with only five motifs (e.g. everyday life was negatively correlated with Arousal, battle was negatively correlated with Relaxation, and so on). Results from Experiment 2 have shown that Subjectivism and Constructivism are negatively correlated with Regularity, and positively correlated with Arousal. Decoration is negatively correlated with Arousal and positively with Attraction and Relaxation.
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Gligorijevic-Maksimovic, Mirjana. "Classical elements in the Serbian painting of the fourteenth century." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 363–70. http://dx.doi.org/10.2298/zrvi0744363g.
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In the early 14th century influences of a new style emanating from Constantinople contained reminiscences of classical ideas and forms (contents of compositions, the painted landscape, the human figures, genre scenes based on everyday life, classical figures, personifications and allegorical figures). Towards the end of the century classical influences in painting began to wane.
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Filippova, O. N. "Пейзаж в творчестве Василия Переплётчикова". Iskusstvo Evrazii [The Art of Eurasia], № 2(21) (30 червня 2021): 32–45. http://dx.doi.org/10.46748/arteuras.2021.02.003.
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The purpose of this article is to reveal the creative biography of Vasily Vasilyevich Perepletchikov as an landscape lyricist. The article analyzes the difficult creative path of the artist, who was generously gifted in various fields of fine art (engaged in painting and graphics), literature (wrote prose and poetry), had a sharp mind, observation, desire for various achievements in artistic life (organized exhibitions, participated in the creation of new associations). In addition, he was a keen traveler, which is reflected in all his work, one of the main themes in which was the North. Landscape drawings, paintings and sketches of different periods of the artist's work are consistently analyzed, characteristic features are noted. The historical and biographical method was used as the main one in this study. Целью данной статьи является раскрытие творческой биографии Василия Васильевича Переплётчикова как пейзажиста-лирика. Рассмотрен творческий путь художника, одаренного в различных областях изобразительного искусства (живопись, графика), литературы (проза, стихи), обладавшего острым умом, наблюдательностью, желанием разнообразных свершений в художественной жизни (организовывал выставки, участвовал в создании новых объединений). Кроме того, В.В. Переплётчиков был увлеченным путешественником, что нашло отражение во всем его творчестве, одной из главных тем в котором был Север. Последовательно проанализированы пейзажные рисунки, картины и этюды разных периодов творчества художника, отмечены характерные черты. В качестве основного в данном исследовании использован историко-биографический метод.
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Simmons, Jake. "Five Letters to Georgia O’Keeffe." Departures in Critical Qualitative Research 10, no. 1 (2021): 146–54. http://dx.doi.org/10.1525/dcqr.2021.10.1.146.
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In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2
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Russell, P. A., and D. A. George. "Relationships between Aesthetic Response Scales Applied to Paintings." Empirical Studies of the Arts 8, no. 1 (1990): 15–30. http://dx.doi.org/10.2190/au1r-6uxe-t14r-04wq.
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Relationships among seven aesthetic response scales were studied by requiring subjects to rank fifteen paintings on each scale, using a between-subjects design. Three of the five evaluative scales used, likeability, pleasingness, and preferability were strongly positively intercorrelated. Using these scales to examine painting content (landscape, portrait, still-life) and style (Impressionism, Surrealism, etc.) effects, however, revealed that the scales did not always yield similar results. Although content effects were similar on all three scales, likeability and preferability were relatively insensitive to style effects, while pleasingness was more sensitive. These sensitivity differences appear to be linked to variation in the degree of intersubject agreement on the different scales, leading to the suggestion that some scales, such as pleasingness, are relatively homogeneous while others, such as likeability, are more heterogeneous. Another commonly-used evaluative scale, interestingness, was unrelated to the other four but was relatively sensitive to style effects. Data are also presented on an additional evaluative scale, wish to see again, and on two descriptive scales, complexity and familiarity. Overall, the results suggest that conclusions drawn from studies using aesthetic scales may depend crucially on the particular scale used and in particular that the commonly used likeability and preferability scales, despite their apparent ecological validity, may not be the most informative ones.
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Toma, L. A. "Жизнеспособные традиции в живописи Сергея Галбена". Iskusstvo Evrazii [The Art of Eurasia], № 1(20) (31 березня 2021): 50–63. http://dx.doi.org/10.46748/arteuras.2021.01.004.
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The article highlights the stages of the life and work of the artist from the Republic of Moldova — Sergei Galben, who asserts the value of the emotionality of fine arts and viability of traditions of plastic culture, offering an example of their deep development and individual implementation in his works. Though his achievements were marked by awards in different competitions, being also appreciated by critics in press, and many paintings were purchased by museums and private collectors, the artist's creative way wasn't investigated. The author of the article fills this gap, having studied his numerous works and documentary materials. Most of S. Galben's paintings are connected with the images of Moldavian village. Genre motifs are interpreted as a part of the eternal course of life. His inclination for lyrical expression of feelings helps to reflect the spiritual purity and spontaneity of emotions in his portraits of rural residents, painted with great sympathy. Panoramic views and fragmentary sketches recreate the image of Moldova, “breathing” and emitting a soft light. The “landscape vision” of the artist, who lives in harmony with Nature, is also reflected in those rare semi-abstract compositions, characterized by well considered architectonics and correlation of color spots that express the mobility of the atmosphere. The integrity of the creative personality of Sergei Galben is largely due to the organic connection with the land on which he grew up. The artist is close to the ethical basis of the life of the people and the traditions preserved in everyday life, in the forms of folklore. В статье освещены этапы жизни и творчества молдавского живописца Сергея Галбена, известного c 1970-х годов по многим республиканским и международным выставкам. Его достижения отмечались победами в конкурсах, многие полотна хранятся в музеях и частных коллекциях. В 2020 году на ретроспективной выставке его произведений в Национальном художественном музее Молдовы с презентацией альбома «Сергей Галбен» наиболее полно раскрылось своеобразие творческой личности. Картины, разнообразные по мотивам и экспрессивным средствам, выявили гармоническое единение автора с природным миром, открытость эмоций и умение придать живописи свободное дыхание. Творческий путь художника до недавнего времени не исследовался, и автор статьи восполнил этот пробел, изучив его многочисленные работы и документальные материалы. Сергей Галбен утверждает ценность эмоциональности искусства, жизнеспособность традиций пластической культуры, давая пример их глубинного освоения и индивидуального претворения. Труд этого мастера достоин введения в широкий искусствоведческий оборот.
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Markov, Aleksandr V. "EL GRECO IN RUSSIAN POETRY." Vestnik of Kostroma State University, no. 1 (2020): 93–101. http://dx.doi.org/10.34216/1998-0817-2020-26-1-93-101.
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The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the infl uence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially signifi cant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially signifi cant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically signifi cant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plotsignifi cant: chiaroscuro and colour turned out to be symbols of life’s upheavals, and the mission of the apostle and Orpheus was then identifi ed as a model for a poetic attitude to everyday life.
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Vakhromeeva, Oksana B. "The unfulfilled museum collection of works by G. S.Vereiskiy: The artist’s autobiography as a key to his creative heritage." Issues of Museology 12, no. 1 (2021): 94–107. http://dx.doi.org/10.21638/spbu27.2021.110.
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In 2021, the 135th anniversary of George Semenovich Vereiskiy (1886–1962) was celebrated. Vereiskiy was a talented, methodical, and self-disciplined artist who focused on the subject of his work. He was a member of the “World of Art” association, curator of the State Hermitage’s Department of Engravings, teacher of painting, laureate of the second degree of the Stalin Prize (1946), People’s Artist of the RSFSR (1962), honored worker of the arts, and member of the Academy of Arts. Vereiskiy was involved in various forms of art, especially drawing and painting. He worked in many genres (portrait, landscape, interior, still life, residential and industrial genres). In his drawings and lithographs in the 1920–30s, he was a pioneer of industrial themes. The main source of his work was love for Russian nature (his landscapes are imbued with a soft lyricism). His clarity of perception of the surrounding reality and high civil position enabled him to make the most important aspect of art — a portrait. Without exaggeration, it can be argued that Vereiskiy for more than half a century created a large portrait gallery of his contemporaries, from science and artists to the Knights of St. George from the First World War and military officials of World War II (1941–1945). Vereiskiy’s artistic heritage is very extensive and it is still waiting for its explorer. This article was created in order to establish a precursor for the study of the artist’s creative heritage, fragmentarily concentrated in a number of museum collections, which are discussed below. The reference point to the artist’s creative heritage is his autobiography, which the article introduces into scientific circulation for the first time.
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Yan, Hao, Gao Xu, and Huang Gonghu. "Thoughts on the Design of Wall Painting Patterns for the Tourism Space." E3S Web of Conferences 251 (2021): 03005. http://dx.doi.org/10.1051/e3sconf/202125103005.
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The rapid development of economy in the modern society have led people to develop more and more demands for spiritual life, and has gradually changed people’s way of life. The rise of tourism industry has also met some people’s spiritual needs, with the tourism space becoming part of the humanistic landscape. The needs of people for tourism space vary from time to time, which are further complicated by people’s demand for more public space. The growing ecological awareness of people are driving them to focus more on the tourism space, allowing them to learn about different geologies, cultures and histories so that they could relax and ease off anxiety brought by the hustle and bustle of city life. Therefore, public tourism space has become a major component of city in urbanization.
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Heck, Kilian. "Das Kaum Noch Sichtbare Sichtbar Machen." Artium Quaestiones, no. 27 (September 8, 2018): 57–65. http://dx.doi.org/10.14746/aq.2016.27.3.
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The so-called faraglioni painting (Faraglioni-Landscape), painted in ca. 1837 byCarl Blechen (1798-1840) and held at the National Museum in Poznań is one of hismost unusual achievements. What can be seen in the picture are rocks protrudingnear the shore of Capri, the so-called faraglioni – a characteristic motif of romanticpainting. Still, Blechen was interested in more than just a mimetic representation ofthe rocks. Experimenting with extremely changing light, he intended to find the limits of visibility. Such attempts at playing with optical phenomena were typical for his works painted after his visit in Italy in 1829/1830. Examining color effects conditioned by changes of light was for Blechen a kind of necessity. It should be remembered that dioramas were particularly popular in that period. In Berlin they were shown, among others, by the Gropius brothers for whom, according to the records, Blechen was working. In dioramas, illumination from the back was just as obvious as presenting pictures in changing light. Blechen found the changing intensity of illumination interesting, which can be seen in his paintings.
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Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.
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By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music.
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
 Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
 The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
 The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
 The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
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Juzefovič, Agnieška. "LANDSCAPE AS COMMUNICATION: REFLECTION ON SURROUNDING ENVIRONMENT IN CHINESE AESTHETICS / PEIZAŽAS KAIP KOMUNIKACIJA: SUPANČIOS APLINKOS REFLEKSIJA KINŲ ESTETIKOJE." CREATIVITY STUDIES 6, no. 1 (2013): 32–45. http://dx.doi.org/10.3846/20297475.2013.764936.
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Through examining early Chinese texts on aesthetic, contemporary interpretations and traditional Chinese landscape paintings, the author highlights relationship between painters and art theorists and their surrounding environment. The early aesthetic treatises, especially those who were dedicated to the topic of landscape painting, consist of subtle reflection of surrounding environment, its impact on author's life and worldview, discuss how painters understand, interpret and depict natural environment. The author argues that Chinese painters’ main attention focused on the natural environment where traces of human activity are not visible or barely visible, and unimportant, accidental. Monochrome ink landscapes created from Tang and Song dynasties are analyzed as examples because of their subtle reflection of the natural environment, embodied desire to capture and communicate its mood and soul. Portraying the sublime, animated nature Chinese painters intended indirectly via picture to communicate the idea that the whole surrounding world permeates invisible Dao. Such a worldview in traditional Chinese culture caused particular responsiveness and respect for the surrounding environment. Santrauka Nagrinėjant ankstyvuosius kinų estetikos traktatus, šiuolaikines interpretacijas ir dailės kūrinius, straipsnyje išryškinamas dailininkų ir meno teoretikų santykis su supančia aplinka. Parodoma, kad jau ankstyvuosiuose traktatuose, skirtuose dailės, o ypač peizažo, žanro problematikai, subtiliai reflektuojama supančios aplinkos problematika, nagrinėjamas jos poveikis dailininkui, išryškinamas aplinkos vaizdavimo savitumas. Konstatuojama, kad kinų menininkai daugiausia dėmesio skyrė natūraliai gamtinei aplinkai, kurioje žmogaus veiklos pėdsakai yra neregimi arba vos regimi, antraeiliai. Daugiausia nagrinėjami monochrominiai tušo peizažai iš Tangų ir Songų dinastijų laikų, nes jiems būdinga subtilios gamtinės aplinkos refleksijos, siekis pagauti ir perteikti jos nuotaiką ir dvasingumą. Straipsnyje argumentuojama, kad, vaizduodami taurią, sudvasintą gamtą, kinų dailininkai siekė netiesiogiai, vaizdais perteikti mintį, kad visą supantį pasaulį persmelkia neregimas Dao. Tokia pasaulėžiūra tradicinėje kinų kultūroje lėmė dėmesingumą ir pagarbą supančiai aplinkai.
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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.
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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.
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Stoenescu, Livia. "Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma." Religions 12, no. 8 (2021): 609. http://dx.doi.org/10.3390/rel12080609.
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Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke.
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Hetman, Jarosław. "Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 15. http://dx.doi.org/10.17951/lsmll.2020.44.2.15-25.
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<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>
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Yao, Ping. "The Utilization of the Contrary Space Sequence Analytic Method in Modern Villages and Towns Planning Design." Applied Mechanics and Materials 99-100 (September 2011): 475–78. http://dx.doi.org/10.4028/www.scientific.net/amm.99-100.475.
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The combination of the Contrary Space Sequence is the rule of the composition of landscape space which the majority historical towns followed. the charm of several hundred years’ ancient town space is just as before, all these are related to the ingenious composition of landscape space and long-term harmonious sustainable. The ancients have utilized the philosophy which integrated by Chinese traditional garden and the ideal condition, situation and the conditions of the object form calligraphy and painting in the construction of towns, Therefore in the modern town space is still deducting the scenery drawing of harmony between humans and landscape as before. The research of the contrary space sequence inherits this town landscape space building method, Carries forward the sustainable development idea of the traditional town construction, and applied to some present small towns and new rural planning, design and construction properly, to provide valuable reference for build a town or a new village with the true harmony between humans and natural world and a beautiful natural environment.
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Gligorijevic-Maksimovic, Mirjana. "Classical elements in the endowments of Serbian XIII century donors." Zbornik radova Vizantoloskog instituta, no. 46 (2009): 255–64. http://dx.doi.org/10.2298/zrvi0946255g.
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In Byzantine painting, starting from the XIII and particularly during the XIV century, there was a visible return to models from the period of Antiquity. The influences of ancient, ostensibly, Hellenistic heritage were reflected in the shapes, in the content of the compositions, as well as in the drawing, modellation and colours. In the art that came into being in the course of the XIII century, in the endowments of the Serbian donors numerous elements emerged that had existed in ancient art. In the frescoes in the Church of the Mother of God in Studenica, the endowment of Stefan Nemanja and his sons, we see personifications, symbols, the introduction of details, and space acquiring depth, features that were later to come to full expression, especially from the middle of the XIII century. The few preserved frescoes dating from the XIII century in the Church of the Resurrection in the Zica monastery, the endowment of Stefan the First Crowned, his son Radoslav and his brother Sava, are an iconographic continuation of the trends in the art one encounters in Studenica. The frescoes in the Church of Christ's Ascension in Mileseva, the endowment of King Vladislav, with their subtly fashioned figures and carefully modelled faces, as well as refined colouring, signal a return to the Hellenistic models. The painting in the Church of Dormition of the Virgin in the Moraca monastery, the endowment of Prince Stefan, nephew of king Stefan, with its well-proportioned, firmly modelled figures, landscapes and architecture deepening the space, reminds one of the Sopocani frescoes. In the fresco painting of the Holy Apostles in Pec, the endowment of Archbishop Sava which owed its outcome to the efforts of Archbishop Arsenije I, the images are very vivid, and the painted architecture is depicted in an abbreviated form, using different kinds of perspective. The painting in the Church of the Holy Trinity in Sopocani, the endowment of king Uros I, represents an ensemble of new artistic trends that appeared during the first half of the XIII century. Its spacious and monumental compositions present solutions that give the figures a quality of flexibility and breadth to their movements, while their faces resemble those of Antiquity. The space is indicated by architecture painted in an abbreviated manner, the iconostasis and icons are framed in an ornament of stucco bearing antique motifs, some scenes contain personifications, while the rich and harmonious colours and gold in the background emphasise the Hellenistic spirit. The frescoes in the Church of the Annunciation in the Gradac monastery, the endowment of Queen Jelena followed the trends in painting from Sopocani. The figures in the narthex of the Church of St. George in Djurdjevi Stupovi and in the parekklesion of the entrance tower, the endowment of King Dragutin, were painted in a rather similar fashion. The decoration of St. Ahilije in Arilje, the endowment of King Dragutin, consists of monumental figures of ancient beauty, richly painted architecture in the background, and greater depth painted in different forms of perspective and scenes containing details from everyday life. During the XIII century, the proportions of the compositions became larger, the number of participants in them increased, various episodes were added to the existing scenes, and the space was defined by a larger number of plans and buildings of ancient forms. At the same time, the painted architecture was presented in the perspective of different projections, deepening the space when necessary and highlighting the subject matter. The landscape is presented in the background, keeping to the rhythm of the scene or partitioning the episodes within the composition, while depicting vegetation and animals that resemble the mosaic flooring of ancient times. Special attention was paid to appearance and workmanship, to the modeling of the faces and human figures that acquired the proportions and harmony of Antiquity. Characters with lively movements were more numerous and were located more freely in the space. Compositions were more numerous, enriched with details from everyday life, while into the established scenes as regards Christian iconography were included personifications, symbolic and allegorical figures. The influences of Antiquity were also reflected in the precise drawing, plastic modeling and rich, refined colours. During the XIII century, the revival of models from Antiquity evolved gradually in the painting of the endowments belonging to the Serbian ktetors, most of whom were members of the Nemanjic ruling house. First of all, single elements appeared that were related to the proportions of the compositions and the images, personifications, symbolic presentations, the temperate voluminousity of the figures, refined colours all of which heralded further trends in painting. In addition, the painted architecture, of Hellenistic forms, gained an increasing role in the definition of space. The painting in Sopocani, with its monumental dimensions, its harmony of ancient proportions, precise drawing and modeling, wealth of colours and splendour of gold, reached an outstanding level in the Byzantine painting of that epoch. The decoration of the monuments that were built later, up to the end of the XIII century, mirrored the achievements of the Sopocani painting and continued to develop by including elements from the Antiquity. Thus, at the beginning of the XIV century, the emulation of models from the Antiquity came to full expression in the monumental endowments of King Milutin.
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Khrapachov, O. "Role of Creative Symposia in forming the Artist." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 235–43. http://dx.doi.org/10.33838/naoma.27.2018.235-243.
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The cooperative creative work in the art has always facilitated the creation of artistic works of high quality and required this process to be organized in a certain way, from both material and ideological perspective. There are plenty of creative symposia and plein-airs in Ukraine. Therefore, in our opinion, it is important to generally characterize this process and to reveal trends and prospects for creative projects in the modern artistic world. The plein-air is instructive from both theoretical and practical perspective. Exactly on the plein-airs an artist experiences a first shock from what he has seen in the nature; this sinks deep into the mind and nourishes both studies from nature and the whole process of making of a painting in the art studio. The plein-air gives the freshness of light perception to the artist; colors become clear, lightful and transparent. Each hue brings the artist curious brain to a big secret hidden in the nature. Its motifs are inexhaustible for learning its each fragment and manifestation. The life, country and its history give all the most beautiful things to the artist. In most cases impressions got on the plein-air are brought to the art studio and generalized paintings are made exactly there. And this is not a wave landscape portrait but the generalized image of Ukraine. Fundamental plein-airs and symposia among creative teams are organized with the support of the government or private organizations that feel involved in the process of creating a culture. Organizers set a main theme of the symposium, cover the accommodation and meal as well as tour expenses, finance a report exhibition of the creative team, catalog etc. Artistic projects are sponsored by large corporations or business structures as well as by diplomatic corps as art patrons which can crank them up a notch in the society not thanks to the economic basis but thanks to the art. We can see how the Ukrainian business intellectuals grow, intellectuals that understand the role of arts patronage well by following the example of their high-ranking foregoers from the beginning of the XX century. Round tables at symposia offer an opportunity to discuss prospects of the modern art and its tasks; such discussions are the anvil upon which the spark of truth is struck. In artistic groups the inner psychological space is organized more quickly: What is meant here is the inner world of each artist. In the environment with the certain spacing it is possible to simulate individual features of perception of reality, response and life style, i.e. life journey. The Ukrainian folk artist Vasyl Perevalsky emphasizes that all artists are different. Not everybody is able to work in the creative team. It all depends on psychological features of the artist. There are artists who, when making a painting, work more effectively in their art studios by going deep into their ideas, other world and logic of perception. In the opinion of the Ukrainian famous painter Vasyl Hurin, “a thematic painting must be unique and not repeat the past things. It must maturate and naturally go up”. Artistic symposia and plein-airs play a major role in forming the modern artistic idea. By participating directly in symposia the artist can understand regularities of individual life, discover his reserves and thus change his behavior by stimulating development and creating a project of life.
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Bulavs, Vilnis. "Kārlis Cemiņš – mākslinieks un pedagogs." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
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Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
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Samoshchuk, Oksana. "PSYCHOLOGICAL ASPECTS OF SALVADOR DALÍ'S PERSONALITY AND CREATIVE PROCESS." PSYCHOLOGICAL JOURNAL 6, no. 1 (2020): 175–86. http://dx.doi.org/10.31108/1.2020.6.1.17.
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The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.
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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.
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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle &ndash; Segantini, B&ouml;cklin, Gauguin, Nesterov, &#268;iurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Radnóti, Sándor. "The Religious Experience of the Landscape Ruskin and Nature." Acta Historiae Artium 61, no. 1 (2020): 181–99. http://dx.doi.org/10.1556/170.2020.00007.
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AbstractThis paper reconstructs Ruskin’s work from the perspective of the landscape, building upon the assumption that Modern Painters played a cardinal role in the emancipation of the genre. This reconstruction is complicated by the internal contradictions within the work: it cannot be regarded as a systematic work of philosophy, but belongs rather to the genre of sage writing. In volume I, Ruskin approached the landscape not from an aesthetic point of view, but from the direction of scientific truth. The aesthetic consequence of this was his anti-mimetic attitude, which differentiated between the imitation of nature and the uncovering of the truths of nature, and in this respect, he considered Turner the greatest master who had ever lived. Truth takes precedence over all aesthetic considerations, and for this reason Ruskin was resolutely against artistic tradition. Seen from his perspective, the history of landscape painting appeared as a series of scientific illustrations, which, with the forward march of science, came ever closer to truth-to-nature. The other two essential conditions of art, the other side of truth, were its moral and religious messages. Beauty is the work of God, and God must be praised in His work, in Nature. Only later did Ruskin introduce a historical dimension to the experience of the landscape. The modern era is characterised by the rise of the pre-eminent interest in the landscape, accompanied by a parallel decreasing interest in gods, saints, ancestors and humans. This later became the main motif of Ruskin’s activities as a social critic and reformer. In relation to the loss of faith and the prospect of regaining it, Ruskin saw landscape painting as the representative art of the modern era. In the later volumes of Modern Painters, Ruskin carefully distinguished between the task of science, which is to investigate the essence and uncover the truths of material nature, and the task of art, which is to explore the possible viewpoints or aspects of material nature. In volume V of Modern Painters he firmly asserted – in diametric contradiction to his earlier views – that the greatness and truth of Turner did not rest on scientific truth, for in this respect the artist was completely ignorant. This paper interprets and evaluates Ruskin’s extraordinarily harsh criticism of Claude Lorrain, which contrasts with the fact that Turner spent almost his entire life idolising and attempting to rival Claude.
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coleman, catherine. "Inedible Edibles: The Artwork of Lotje de Lussanet." Gastronomica 6, no. 4 (2006): 9–11. http://dx.doi.org/10.1525/gfc.2006.6.4.9.
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Lussanet constructs giant-sized sculptures of fruit and flowers using the technique of papier-mache and painting them brilliant colors with her own finely ground pigment. She uses materials from the fallas (Valencia) popular floats. These organic forms create a dream world in a natural setting, whether displayed indoors or outdoors. She has choreographed performances with actors manipulating her sculptural pieces, where the landscape plays a prominent role and the natural elements are key players. She is currently working on a larger project called "A World of Choice," based on Hieronymus Bosch's The Garden of Earthly Delights. Her employment of distortion of scale, brilliant color and illogical juxtaposition creates a visual imagery that instills a conscientious respect for our environment and healthy food choices. Life is both fragile and strong like these paper fruits.
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Smolcic-Makuljevic, Svetlana. "The sacral topography of the Monastery of Treskavac." Balcanica, no. 35 (2004): 285–322. http://dx.doi.org/10.2298/balc0535285s.
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The stretches of Mt Treskavac with Zlatovrh, a dominant peak in Pelagonija and its distinctive rocky landscape have offered a suitable setting for exercising austere monastic practices ever since medieval times. The sacred area formed around the Monastery of the Dormition of the Virgin in medieval times was founded on the antique sacred place of Kolobaise and the temples of Artemis of Ephesus and Apollo Euthanatos. To medieval renovation of the monastery besides the Byzantine and Bulgarian rulers, also contributed the Serbian rulers of the Nemanjic house, kings Milutin, Stefan of Decani and Dusan. Testimonies to a stay at Treskavac were left by the Serbian nobles enochiar Dabiziv and tepcija Gradislav. The cult of the Virgin of Treskavac confirmed in the written sources beginning with king Dusan's charters to the monastery (1334-1343), left its trace both in the wall-painting of the monastery church and in the activity of manuscript copying cultivated in this monastic center. Over the centuries, many pilgrims, from the royalty local lords and members of well-to-do families to priests and monks Orthodox Christians but also non-Christians, came to show their respect to the Virgin of Treskavac. A small cave church has been recently registered in the immediate vicinity of the monastery. An evidence of the eremitic way of life, it confirms the information contained in king Dusan's charters. Namely, they compare the way of life of the monks of Treskavac with the ascetic practice of Mount Athos and Mount Sinai. The area of Mt Treskavac also shows several rock paintings with a cultic function. This authentic manner of marking out a sacred area may be explained by the prophylactic role of the Virgin, or a Christian saint, in a barely passable, perilous landscape. Springs and drinking fountains constitute another important element of the monastery's topography. Through the monks' continuous and devout effort put into shaping the landscape, the fresh and icy cold water from the mountain springs has been captured and channeled into drinking fountains for the use both of the dwellers of the monastery and of pilgrims.
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Mansoor, Jaleh. "Militant Landscape: Notes on Counter-Figuration from Early Modern Genre Formation to Contemporary Practices, or, Landscape after the Failure of Representation." ARTMargins 10, no. 1 (2021): 20–38. http://dx.doi.org/10.1162/artm_a_00282.
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Abstract In 1844, the year of Marx's Philosophical and Economic Manuscripts, J.M.W. Turner presented Rain, Steam, and Speed: The Great Western Railway, the first landscape painting to both articulate the ontological shifts brought about by new modes of extraction and production, but also to suggest concomitant transformation in perception. In this way, it collapsed the dialectical relation between perceiving subject and external landscape, suggesting the reciprocal relationship of reification. In 2013, the contemporary artist and filmmaker Zachary Formwalt produced a piece entitled Projective Geometry in which he read from Chapter 25 of Marx's Capital, the chapter on “So-called Primitive Accumulation.” This voice-over accompanies footage—each shot organized in rigorous single point perspective—of the railroad built by England, France, and Belgium extending from the Ivory Coast to the Cape. Formwalt also unearthed documents from archives in those Imperialist nation states and former/present empires casually mentioning the now unruly, now obedient, yet always “pesky” local African labor that lost life to the enterprise of transportation of local resource extraction to which they were utterly disposable. This essay will describe and analyze both works of art crossing Modernism, aka the culture wing of Modernity (itself a polite term for the ontological shifts brought about by the capitalist mode of production) through the theoretical matrix of Marx, Luxemburg, Sohn-Rethel, and Courtauld.
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Bruyn, J. "François Venant. Enige aanvullingen." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 163–76. http://dx.doi.org/10.1163/187501797x00195.
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AbstractSince J. G. van Gelder was able to identify a number of works by François Venant (1591/92-1636) in 1938 (note 2) and Kurt Bauch and Astrid Tümpel added to these one painting and a drawing (notes 14 and 3), the artist has been known as one of the so-called Pre-Rembrandtists. Together with his contemporaries Claes Cornelisz. Moeyaert (c. 1590/91-1655) and Jacob Pynas (1592/93-after 1650) he was one of the younger artists of this group. Its style was dominated by Pictcr Lastman (1583-1633) and Jan Pynas (1581/82-1633), both of whom underwent the influence of Adam Elsheimer during their stay in Rome. Venant married a younger sister of Lastman in 1625. The latter's influence on his work had however set in well before that year. Jacob's Dream, signed and dated 161(7?) (note 10, fig. 2) testifies to this, as well as showing traces of Elsheimer's influence, possibly transmitted by Jan Pynas (notes 12 and 13, fig. 3). A somewhat later signed work, David's parting from Jonathan (note 5, fig.1), closely follows Lastman's version of the subject of 1620 (note 6) though the grouping of the two figures may be taken as typical of Venant's personal style. In an unsigned picture of Gideon's Scacrifice, which may also be dated to the early 1620s (note 14, fig. 4), the artist once more makes use of motifs from various works by Lastman. Two undated drawings would seem to represent a slightly later stage in the artists's development. The Baptism of the Eunuch (notes 16 and 18, fig. 5) betrays the attempt to emulate Lastman's pictures on the subject, especially one of 1623 (note 17), by enhancing the dramatic actions in the scene, and so does Gideon's Sacrifice (note 20, figs. 6 and 8), which seems to be based on Lastman's Sacrifice of Monoah of 1627 (note 21, fig.7). To these works, spanning a period from 1617 (?) to the late '20s, may be added two more, another drawing and a painting. The drawing of Daniel at Belshazzar's Feast was formerly attributed to Lastman (notes 25-33, figs. and 10). While the technique, notably the use of wash, differs from that in the drawings mentioned above, the similarities to these in linear rhythm and conception are such that they may all be attributed to the same hand. The technical differences may be accounted for by assuming a slightly later date and, more particularly, a different purpose; whereas the other drawings were in all likelihood self-contained products, Belshazzar's Feast appears to be a sketch for a painting. The last phase of Venant's career seems to be represented by the largest painting known to us and the only one on canvas, Elisha Refusing Naäman's Gifts (note 34, fig. 11). It shows the artist disengaging himself from Lastman at last, possibly after the latter's death in 1633. While the composition is still reminiscent of his carlier work, here Venant seems to have made a fresh start by allowing study from life to play a more important role than before. The landscape differs radically from earlier backgrounds and may well have been influenced by Barholomeus Breenbergh, who returned from Italy around 1630 and whose influence may also be detected in the heavy wash that marks the Belshazzar drawing. The artist's further development was cut short by his untimely death, probably of the plague, in 1636.
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Jie, Tai. "Mutual Translation between "Painting and Landscape" – A Case Study on the Digital Preliminary Restoration of "Garden Image" in the Engraving Illustrations of Ancient Books in the Ming and Qing Dynasties." E3S Web of Conferences 236 (2021): 05030. http://dx.doi.org/10.1051/e3sconf/202123605030.
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The digital visual operation of computer can serve as a "design medium" and "analytical tool". In this study, the "garden image prototype" in ancient Chinese prints in the Ming and Qing Dynasties are transformed the into the visualization construction of computer 3D model. Moreover, the engraving illustrations of ancient Chinese books also spread to the world with the derivative function of "garden atlas". As the "sketch" of landscape architecture, garden image can still accurately convey the design intention in landscape schema language, spatial scale diagram and design methodology. The preliminary restoration of digital landscape in this paper does not emphasize precision, or one-to-one restoration, but a kind of fuzzy and experimental virtual digital model exploration from the aspects of space situation, garden elements and construction methods.
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Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.
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The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.
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Wansink, C. "Hieronymus van der Mij als historie- en genreschilder." Oud Holland - Quarterly for Dutch Art History 99, no. 3 (1985): 201–15. http://dx.doi.org/10.1163/187501785x00107.
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AbstractThe Leiden artist Hieronymus van der Mij is only known today as a portrait painter, e.g. from the twelve portraits in the Lakenhal in Leiden, one in the Rijksmuseum and the series of professors done for Leiden University. He also owed his fame in his own day primarily to his portraits, but as Jan van Gool pointed out in 1750 (Note I), he also had a penchant for painting 'antique and modern cabinet pictures'. The main reason why these have been forgotten is that over the years they have slipped almost unnoticed into the oeuvre of Willem van Mieris, not seldom with false signatures to boot. This article presents a short survey of the history and genre pieces discovered up to now as a basis for further research. A list of works known from descriptions in old sale catalogues, but not yet traced, is appended after the catalogue. Hieronymus van de Mij (1687-1761) was the son of the bronze caster Philip van der Mij. In February 1710 he was enrolled in the Leiden Album Studiosorum. He was a pupil of Willem van Mieris, the leading Leiden painter of the day, becoming a member of the Guild of St. Luke in 1724 and for some time serving as supervisor at the Leiden Academy. During his life he made a collection of prints, which was sold at his house after his death (Note 2). The history of his Diogenes' Drinking Bowl (Cat. No. 1, Fig. 1) is an example of the fate that befell most of his history and genre paintings. It came up as a work by him at sales in 1774 and 1783 (Note 3), but around 150 years later, on 23 April 1932, it was sold in Antwerp as a Willem van Mieris. It came up again under this name in Brussels on 3 March 1936 and finally appeared yet again in 1983 as by Frans van Mieris the Elder. It is not too surprising that it was attributed to Willem van Mieris, for the landscape and figures are entirely in his style, but closer inspection reveals awkwardness in the drawing and much more minute detailing than is to be found in Willem van Mieris' work, while the fine, drauglatsmanlike style makes a rather harder impression than Van Mieris' softer, more painterly manner. The same characteristics appear in a scene with The Young Bacchus (Cat. No. 2, Fig.2), which was sold in Cologne in 1938 as by Willem van Mieris and which may be the same as a picture of the same subject seen by Hofstede de Groot in Moscow, which was signed and dated 1716. The Bacchus is an advance on the Diogenes in that it is more broadly conceived and the drawing is firmer and more sure. A signed grisaille overdoor in the Lakenhal, showing an Allegory on Overseas Trade (Cat. No.3) Fig.3), is van der Mij's only surviving decorative painting. It again shows a rather hard linear style, especially by comparison with the much softer and more atmospheric grisailles by Jacob de Wit. A chimneypiece painting of the same subject sold at Zoeterwoude on 25 June 1784 may have come from the same house (Note 5). Genre paintings play an important part in Van der Mij's oeuvre. The earliest dated example, a Family Group at Buckingham Palace (Cat. No.4, Fig. 4), is one of his best works. It was also thought to be a Willem van Mieris until cleaning revealed Van der Mij's signature and the date 1728 (Note 6). It again shows his great dependence on his teacher and also his closeness to his contemporary and fellow-pupil Frans van Mieris the Younger, whose name was also linked with this picture in the past (Note 7). A closely related work with a nursing mother (Cat. No.5, Fig.5), which in 1942 was in the Bentink Collection at Kasteel Weldam and bore the signature of Willem van Mieris and the date 1735, must date from the 1730's) as must a painting of a Woman Holding a Beer Glass in Johannesburg (Cat. No. 6, Fig.15), which is wrongly attributed to Frans van Mieris the Younger. Another work wrongly attributed to the latter (Cat. No. 7, Fig. 6) is revealed as a Van der Mij by the stereotyped faces of the women, the glances and the gestures. A work signed by Van der Mij in full, which came up for sale in Amsterdam in 1950 (Cat. No. 8, Fig.3), is probably meant as a Four Ages of Man. The date is given in the sale catalogue as 1708, but must actually be 1738. Although the influence of Willem van Mieris is still detectable in the old woman, the two younger ones reflect the elegant style of the French painters of the first half of the 18th century. Two scenes in a sewing workroom sold in the same sale as by Willem van Mieris (Cat. Nos. 9 and 10, Figs. 8 andg) are clearly by the same hand as a signed Fruitseller and Young Man (Cat. No. 11, Fig. 16), which was in the hands of Katz at Dieren in 1962. The Leiden tradition, initiated by Gerard Dou, of having the spectator look through a window crops up in a rather unusual form in two pendants in a private collection in Bergamo (Cat. Nos. 12 and 13, Figs. 10 and 11) and in a more conventional and thus possibly happier manner in a signed and dated panel of 1757 sold in Munich in 1899 (Cat. No. 14, Fig. 17) and a Poulterer's Shop (Cat. No. 15, Fig. 12) at Kasteel Singraven at Denekamp, which is very close to it in style (and again bears a false signature of Willem van Mieris). Finally, there are two more genre scenes in landscapes: a Young Woman Feeding Grapes to a Parrot (Cat. No. 16, Fig.13) in a private collection in Sweden, an early work comparable to a painting of 1706 by Willem van Mieris in Dresden (Fig. 14, Note 9), and a Young Couple in a Lanelscape (Cat. No. 17, Fig. 17), which belongs to a later period and is somewhat further removed from Van Mieris, although it was nonetheless attributed to him in a sale of 1906 (Note 10).
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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.
Full textAbstract:
The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.